The color stimulus reaching the observer is the result of the source illumination being filtered by the specular and surface reflectance. Both the illumination and reflectance can be represented by ...
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The color stimulus reaching the observer is the result of the source illumination being filtered by the specular and surface reflectance. Both the illumination and reflectance can be represented by continuous linear functions that yield a single color image equation for each type of cone. There are more unknowns than the three data points from the cone absorptions, so that many assumptions are necessary to achieve constancy. Color constancy is not matching absorptions in the rods and three cone systems from two surfaces that are illuminated differently. Instead, asymmetric color matching is the estimation of surface reflectances from properties of the entire scene based on ratios of absorptions in different parts of the field. Color constancy is not high, even though observers make use of many different cues.Less

The Perception of Quality: Visual Color

Stephen Handel

Published in print: 2006-05-25

The color stimulus reaching the observer is the result of the source illumination being filtered by the specular and surface reflectance. Both the illumination and reflectance can be represented by continuous linear functions that yield a single color image equation for each type of cone. There are more unknowns than the three data points from the cone absorptions, so that many assumptions are necessary to achieve constancy. Color constancy is not matching absorptions in the rods and three cone systems from two surfaces that are illuminated differently. Instead, asymmetric color matching is the estimation of surface reflectances from properties of the entire scene based on ratios of absorptions in different parts of the field. Color constancy is not high, even though observers make use of many different cues.

Reflection acoustic microscopy of solid surfaces is generally dominated by interference between a specularly reflected wave and reflected waves associated with excitation of Rayleigh waves in the ...
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Reflection acoustic microscopy of solid surfaces is generally dominated by interference between a specularly reflected wave and reflected waves associated with excitation of Rayleigh waves in the surface of the sample. The variation of signal as the sample is moved towards the lens is designated V(z). Samples which support Rayleigh waves exhibit oscillations in V(z) associated with this interference. The oscillations can be accounted for either in terms of wave theory, with the waves decomposed into their angular spectrum, or in terms of a ray model, with a geometrical and a Rayleigh contribution.Less

Contrast theory

G. A. D. BriggsO. V. Kolosov

Published in print: 2009-09-17

Reflection acoustic microscopy of solid surfaces is generally dominated by interference between a specularly reflected wave and reflected waves associated with excitation of Rayleigh waves in the surface of the sample. The variation of signal as the sample is moved towards the lens is designated V(z). Samples which support Rayleigh waves exhibit oscillations in V(z) associated with this interference. The oscillations can be accounted for either in terms of wave theory, with the waves decomposed into their angular spectrum, or in terms of a ray model, with a geometrical and a Rayleigh contribution.

This chapter gives a theoretical description of the basic properties of electromagnetic radiation. Maxwell's equations are first reviewed; the expressions of electrodynamic potentials in the vacuum ...
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This chapter gives a theoretical description of the basic properties of electromagnetic radiation. Maxwell's equations are first reviewed; the expressions of electrodynamic potentials in the vacuum and in polarized media are then given. The classic theory of the scattering of X-rays by electrons is described (Thomson scattering). The dielectric susceptibility (polarizability) of matter for X-rays and the Fourier expansions of its real and imaginary parts in a periodic medium (index of refraction, atomic scattering factor, and absorption coefficient) are discussed. A detailed account of Ewald's dispersion theory that is at the base of Ewald's dynamical theory is then presented. The propagation equation of X-rays, which is used throughout the book, is derived from Maxwell's equations according to Laue's basic assumptions. The last part of the chapter is devoted to specular reflection and Fresnel relations.Less

Properties of the electromagnetic field— propagation and scattering

ANDRÉ AUTHIER

Published in print: 2003-11-06

This chapter gives a theoretical description of the basic properties of electromagnetic radiation. Maxwell's equations are first reviewed; the expressions of electrodynamic potentials in the vacuum and in polarized media are then given. The classic theory of the scattering of X-rays by electrons is described (Thomson scattering). The dielectric susceptibility (polarizability) of matter for X-rays and the Fourier expansions of its real and imaginary parts in a periodic medium (index of refraction, atomic scattering factor, and absorption coefficient) are discussed. A detailed account of Ewald's dispersion theory that is at the base of Ewald's dynamical theory is then presented. The propagation equation of X-rays, which is used throughout the book, is derived from Maxwell's equations according to Laue's basic assumptions. The last part of the chapter is devoted to specular reflection and Fresnel relations.

This chapter describes the use of dynamical diffraction for the location of atoms and impurities at surfaces and interfaces using the standing waves formed by the superposition of the incident and ...
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This chapter describes the use of dynamical diffraction for the location of atoms and impurities at surfaces and interfaces using the standing waves formed by the superposition of the incident and reflected waves. After an introduction giving the principle of the method and its historical development, the variations of the intensity of the wavefield in the reflection, or Bragg, geometry are calculated and the fluorescent yield determined. Applications to the determination of surface structures, nature and position of impurities, polarity of heteropolar crystals are described. The case of deformed crystals is also considered. The last section concerns standing waves associated with specular reflection.Less

Location of atoms at surfaces and interfaces using X-ray standing waves

ANDRÉ AUTHIER

Published in print: 2003-11-06

This chapter describes the use of dynamical diffraction for the location of atoms and impurities at surfaces and interfaces using the standing waves formed by the superposition of the incident and reflected waves. After an introduction giving the principle of the method and its historical development, the variations of the intensity of the wavefield in the reflection, or Bragg, geometry are calculated and the fluorescent yield determined. Applications to the determination of surface structures, nature and position of impurities, polarity of heteropolar crystals are described. The case of deformed crystals is also considered. The last section concerns standing waves associated with specular reflection.

Continuing the argument of light reflection from earth and moon, this chapter is mainly devoted to presenting a famous mirror experiment staged by Galileo in the First Day of his masterpiece Dialogue ...
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Continuing the argument of light reflection from earth and moon, this chapter is mainly devoted to presenting a famous mirror experiment staged by Galileo in the First Day of his masterpiece Dialogue concerning the two chief world systems, Ptolemaic & Copernican. The passages from the Dialogue devoted to this experiment play on the motif of the surprising deceptions of senses and on the counterintuitive character of the worldly reality. By simply looking at the dark zone of the moon, it is possible to discover that a vaster region of ocean is situated to the west of Europe, compared to the eastern lands; it is also possible to imagine the existence of the Australian continent in the eastern and southern regions of the earth.Less

Sensory surprises

Marco PiccolinoNicholas J. Wade

Published in print: 2013-12-05

Continuing the argument of light reflection from earth and moon, this chapter is mainly devoted to presenting a famous mirror experiment staged by Galileo in the First Day of his masterpiece Dialogue concerning the two chief world systems, Ptolemaic & Copernican. The passages from the Dialogue devoted to this experiment play on the motif of the surprising deceptions of senses and on the counterintuitive character of the worldly reality. By simply looking at the dark zone of the moon, it is possible to discover that a vaster region of ocean is situated to the west of Europe, compared to the eastern lands; it is also possible to imagine the existence of the Australian continent in the eastern and southern regions of the earth.

This final chapter summarizes the explorations of the previous ones and brings together all of the concepts created up to here. For this summary, Laruelle sets out oppositions between multiplicity ...
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This final chapter summarizes the explorations of the previous ones and brings together all of the concepts created up to here. For this summary, Laruelle sets out oppositions between multiplicity and fractality, philosophical system and scientific chaos, scientific model and philosophical model, philosophical realism and scientific realism, natural philosophy and artificial philosophy, and provides a substantive description of each couple in order to show the pertinence of the book’s theory.Less

The Fractal Modeling of Philosophy

Published in print: 2016-05-31

This final chapter summarizes the explorations of the previous ones and brings together all of the concepts created up to here. For this summary, Laruelle sets out oppositions between multiplicity and fractality, philosophical system and scientific chaos, scientific model and philosophical model, philosophical realism and scientific realism, natural philosophy and artificial philosophy, and provides a substantive description of each couple in order to show the pertinence of the book’s theory.

While philosophy and psychoanalysis privilege language and conceptual distinctions and mistrust the image, the philosopher and psychoanalyst Julia Kristeva recognizes the power of art and the ...
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While philosophy and psychoanalysis privilege language and conceptual distinctions and mistrust the image, the philosopher and psychoanalyst Julia Kristeva recognizes the power of art and the imagination to unblock important sources of meaning. She also appreciates the process through which creative acts counteract and transform feelings of violence and depression. Reviewing Kristeva's corpus, this book considers the intellectual's “aesthetic idea” and “thought specular” in their capacity to reshape depressive thought on both the individual and cultural level. It revisits Kristeva's reading of Walter Benjamin with reference to melancholic art and the imagination's allegorical structure; her analysis of Byzantine iconoclasm in relation to Freud's psychoanalytic theory of negation and Hegel's dialectical negativity; her understanding of Proust as an exemplary practitioner of sublimation; her rereading of Kant and Arendt in terms of art as an intentional lingering with foreignness; and her argument that forgiveness is both a philosophical and psychoanalytic method of transcending a “stuck” existence. Focusing on specific artworks that illustrate Kristeva's ideas, from ancient Greek tragedy to early photography, contemporary installation art, and film, this book positions creative acts as a form of “spiritual inoculation” against the violence of our society and its discouragement of thought and reflection.Less

Head Cases : Julia Kristeva on Philosophy and Art in Depressed Times

Elaine Miller

Published in print: 2014-02-25

While philosophy and psychoanalysis privilege language and conceptual distinctions and mistrust the image, the philosopher and psychoanalyst Julia Kristeva recognizes the power of art and the imagination to unblock important sources of meaning. She also appreciates the process through which creative acts counteract and transform feelings of violence and depression. Reviewing Kristeva's corpus, this book considers the intellectual's “aesthetic idea” and “thought specular” in their capacity to reshape depressive thought on both the individual and cultural level. It revisits Kristeva's reading of Walter Benjamin with reference to melancholic art and the imagination's allegorical structure; her analysis of Byzantine iconoclasm in relation to Freud's psychoanalytic theory of negation and Hegel's dialectical negativity; her understanding of Proust as an exemplary practitioner of sublimation; her rereading of Kant and Arendt in terms of art as an intentional lingering with foreignness; and her argument that forgiveness is both a philosophical and psychoanalytic method of transcending a “stuck” existence. Focusing on specific artworks that illustrate Kristeva's ideas, from ancient Greek tragedy to early photography, contemporary installation art, and film, this book positions creative acts as a form of “spiritual inoculation” against the violence of our society and its discouragement of thought and reflection.

As the title of this chapter testifies, it takes a Lacanian approach to Herrmann’s work with Hitchcock. Drawing on Kristeva’s Lacanian pre-Symbolic notion of ‘the specular,’ Brown finds Herrmann’s ...
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As the title of this chapter testifies, it takes a Lacanian approach to Herrmann’s work with Hitchcock. Drawing on Kristeva’s Lacanian pre-Symbolic notion of ‘the specular,’ Brown finds Herrmann’s music, not just his film work with Hitchcock, but also his concert and radio music, to demonstrate the full specular potential of the cinema. Drawing on Laura Mulvey’s theories, the chapter examines the way in which Herrmann’s deployment of the Hitchcock chord (as referenced above) in Vertigo and Psycho in particular, remove film’s Symbolic discursive attachments, in a manner similar to atonal or experimental music, and returns it to its specular potential.Less

A Lacanian take on Herrmann/Hitchcock

Royal S. Brown

Published in print: 2017-01-18

As the title of this chapter testifies, it takes a Lacanian approach to Herrmann’s work with Hitchcock. Drawing on Kristeva’s Lacanian pre-Symbolic notion of ‘the specular,’ Brown finds Herrmann’s music, not just his film work with Hitchcock, but also his concert and radio music, to demonstrate the full specular potential of the cinema. Drawing on Laura Mulvey’s theories, the chapter examines the way in which Herrmann’s deployment of the Hitchcock chord (as referenced above) in Vertigo and Psycho in particular, remove film’s Symbolic discursive attachments, in a manner similar to atonal or experimental music, and returns it to its specular potential.

This chapter focuses on the case of specular reflectivity as an example of elastic scattering. This type of experiment is used in the study of layered materials, and is a good starting point because ...
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This chapter focuses on the case of specular reflectivity as an example of elastic scattering. This type of experiment is used in the study of layered materials, and is a good starting point because it simplifies to a one-dimensional problem. The geometrical setup for specular reflectivity comprises a beam of X-rays, or neutrons, of wavelength impinges at a grazing angle on a planar sample, and the fraction that bounce back with the same attributes is ascertained. These measurements are repeated for different angles at a given wavelength, or the other way around with a multichromatic source, and yield the reflectivity curve R(Q). An example presented here involves three alternating layers of two materials deposited on a substrate. For simplicity, all the thicknesses have been made the same. Rather than relating the corresponding reflectivity curve to the SLD depth profile analytically, it is understood qualitatively through the help of the physical insight into Fourier transforms.Less

Surfaces, interfaces and reflectivity

D. S. Sivia

Published in print: 2011-01-06

This chapter focuses on the case of specular reflectivity as an example of elastic scattering. This type of experiment is used in the study of layered materials, and is a good starting point because it simplifies to a one-dimensional problem. The geometrical setup for specular reflectivity comprises a beam of X-rays, or neutrons, of wavelength impinges at a grazing angle on a planar sample, and the fraction that bounce back with the same attributes is ascertained. These measurements are repeated for different angles at a given wavelength, or the other way around with a multichromatic source, and yield the reflectivity curve R(Q). An example presented here involves three alternating layers of two materials deposited on a substrate. For simplicity, all the thicknesses have been made the same. Rather than relating the corresponding reflectivity curve to the SLD depth profile analytically, it is understood qualitatively through the help of the physical insight into Fourier transforms.

This chapter examines self-reflexive scrutiny in Mohsin Hamid's The Reluctant Fundamentalist, a novel about America's post-9/11 surveillance of those who look Arab or Middle Eastern and those who ...
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This chapter examines self-reflexive scrutiny in Mohsin Hamid's The Reluctant Fundamentalist, a novel about America's post-9/11 surveillance of those who look Arab or Middle Eastern and those who practice Islam. In The Reluctant Fundamentalist, Pakistani-born protagonist Changez constantly assuages the fears of an unnamed American guest dining with him in Lahore. Changez's dramatic monologue does not apologize for his increasingly militant stance made evident to his double audience: the unnamed American with whom he dines and the reader. This chapter focuses on Changez's visual self-reference (“Do not be frightened by my beard”) that first illuminates and then questions the efficacy of racial profiling. It explains how the reader identifies with Changez early on and acknowledges the racism of fearful Americans after 9/11, but increasingly becomes suspicious of his words and potential actions. It also considers how The Reluctant Fundamentalist enacts specular reversal, a narrative maneuver that animates the potential revisionist possibilities of surveillance and contributes to the novel's disturbing theme.Less

Double Surveillance in Mohsin Hamid’s The Reluctant Fundamentalist

Monica Chiu

Published in print: 2014-01-31

This chapter examines self-reflexive scrutiny in Mohsin Hamid's The Reluctant Fundamentalist, a novel about America's post-9/11 surveillance of those who look Arab or Middle Eastern and those who practice Islam. In The Reluctant Fundamentalist, Pakistani-born protagonist Changez constantly assuages the fears of an unnamed American guest dining with him in Lahore. Changez's dramatic monologue does not apologize for his increasingly militant stance made evident to his double audience: the unnamed American with whom he dines and the reader. This chapter focuses on Changez's visual self-reference (“Do not be frightened by my beard”) that first illuminates and then questions the efficacy of racial profiling. It explains how the reader identifies with Changez early on and acknowledges the racism of fearful Americans after 9/11, but increasingly becomes suspicious of his words and potential actions. It also considers how The Reluctant Fundamentalist enacts specular reversal, a narrative maneuver that animates the potential revisionist possibilities of surveillance and contributes to the novel's disturbing theme.